Absolute Wonder Woman #4 // Review
The Tetracide is a threat totally unlike anything else the Absolute Universe has seen so far. The massive creature has come to devastate Gateway City and Diana is the only one who could stand in its way. She IS going to need help if she is to defeat the “four killer” in Absolute Wonder Woman #4. Writer Kelly Thompson continues a thoroughly satisfying intro to a whole new Wonder Woman with artist Hayden Sherman and colorist Jordie Bellaire. The epic-level of the adventure continues to make a very firm impact on page and panel in one of the most impressive debuts for any incarnation of Wonder Woman.
Diana and Steve Trevor show-up at Etta’s place. It’s not a real great time for anyone. Diana has only one organic arm left. She just made an appearance on TV and delivered a really important message to the whole city. There’s a giant monster looming in the background towering over Gateway City. It’s a bit of a stressful time for everyone involved, but it’s going to be a rather serious on a whole bunch of different levels. Things are looking pretty bleak and Wonder Woman is going to need a lot of help from a great many people.
Thompson has a unique and sparklingly witty energy that animates nearly every aspect of the script with subtle and overwhelming charm. Diana and Trevor enter Etta’s shop. They need spell components that can be purchased at her witch shop. The magical energy of this particular incarnation of Wonder Woman is distinctly unlike any other magic-based superhero that’s made it into the mainstream. It’s a remarkably sharp combination of different things that all fit together quite well as things progress. Thompson is carving out a totally new look at Diana that respects who she is while still marching forward in a completely different direction.
Thompson’s writing makes its impact through some rather brilliant work on the part of the art team. Sherman’s art has a way of capturing subtle and intricate emotions in both facial features and overall posture. Individual personalities make an impact on the page with remarkably deft nuance. It’s all remarkably well-executed in action and drama with a very impressive understanding of overall scale that makes it to page and panel with the aid of Bellaire’s colors. Once again Bellaire is using a muted range of cool colors that enhance the overall feeling of darkness that hangs heavily over Diana throughout the issue.
So often a new reboot or revision of an old character hits the page in a way that feels so much like previous incarnations that it scarcely feels relevant. (This has pretty much been the case with most of DC’s Absolute Universe so far actually...) Thompson, Sherman and Bellaire are doing a brilliant job of doing something new with Wonder Woman that feels like a love letter to Diana while still being something new, refreshing and captivating on a whole bunch of different levels.
